Pioneering ballerina Misty Copeland contemplates her groundbreaking career and the redefinition of the "traditional" dancer.

      Welcome to En Pointe, a quarterly series that delves into the blend of beauty and dance through the perspectives of emerging, multidisciplinary dance talent. Anticipate an intimate glimpse into the everyday routines, aspirations, and must-have beauty items of the industry's most promising young performers.

      Though over ten years have passed since I last entered my sunlit ballet studio, which faintly carried the scents of resin, wood, and strong hairspray, I still find it easy to slip back into the dance variations I once memorized like a mantra… tombé, pas de bourrée, glissade, jeté. These four movements, among others, are how I now instinctively navigate from room to room in my home, having exchanged my Freed of London pointe shoes for cozy shearling slippers. I often lean against the back of my couch, using it as a makeshift ballet bar for balance while I stretch absentmindedly as my tea brews, and I always seem to think clearer when my hair is neatly pulled back into a bun atop my head.

      While I may no longer spend my Friday nights icing sore muscles after a week filled with classes and rehearsals, or sewing ribbons onto my pointe shoes as if my life depended on it, I truly believe that a ballerina never fully stops being a ballerina. It becomes embedded in your essence the moment you fall in love with the art form and lingers with you long after you leave the stage for the last time. I feel fortunate to have devoted years to its training during the same time as Misty Copeland, the first Black principal dancer of the American Ballet Theatre. Copeland was the first dancer I could genuinely see myself in, and she remains one of my greatest inspirations as an artist. I spoke with Copeland to gain insights about her career's pivotal moments, her future endeavors, and her beauty practices.

      Meet Misty Copeland: Former Principal Dancer at American Ballet Theatre and Author.

      Throughout her 25 years with American Ballet Theatre, she has graced us with some of the most breathtaking performances to date (her exquisite portrayal of the longing and innocent Juliet Capulet is forever etched in my memory) while also paving the way for other dancers of color like myself. Although she is often described as a "ballet prodigy," Copeland began dancing at the age of 13. Nevertheless, her rapid ascent in the dance world challenged centuries of traditions that sought to restrict her success as a Black dancer. Her groundbreaking career encouraged a reconsideration of many long-accepted norms within the community, such as the shades of pointe shoes and the predominately European narrative surrounding the ballet body.

      On October 22, 2025, she took her final bow with a breathtaking last performance of Sergei Prokofiev's Romeo and Juliet balcony pas de deux alongside Calvin Royal III, Twyla Tharp's Sinatra Suite with Herman Cornejo, and the modern piece Wrecka Stow by Kyle Abraham at Lincoln Center. This event was witnessed by thousands both in-person and online. Just two months later, she underwent hip-replacement surgery in private. More recently, Copeland made an unexpected appearance at the 98th Academy Awards during the musical performance of Ryan Coogler's Sinners. Additionally, she graced the cover of The Strength Issue, a collaborative platform by Aveeno and Togethxr featuring athletes Sophia Wilson, Cameron Brink, and Ali Truwit.

      For me, it was more than just an opportunity to demonstrate my abilities. It was about the Black community witnessing themselves represented on the Lincoln Center (Metropolitan Opera House) stage, where leading roles in ballet have rarely seen us.

      That being said, Copeland never aspired to be a ballerina initially; however, expressing herself through movement felt like a different language to someone as introverted as she was. Raised in a home where communication didn't center on spoken words but rather on music and rhythm, Copeland became captain of her high school drill team and caught the attention of her coach, who encouraged her to develop her innate talent through training. Her ballet journey commenced on the basketball court at the Boys and Girls Club, thanks to a free program. "It wasn’t until I entered a ballet studio that it clicked. I finally felt noticed and as if I had a voice that resonated with me. I loved performing, which baffled me, but somehow, the technique of ballet gave me a new form of expression," Copeland reflects. On stage, she felt liberated, in command, powerful, and strong, knowing early on that there would be no looking back as long as she could dance.

      While many dancers might have several pivotal moments in their careers when they realize their true potential, there's usually one that stands out and alters the course of their journey. For Copeland, this moment arrived when she had the chance to perform the lead role in Igor Stravinsky's The Firebird, making her the first Black woman to take on that